Chicago has always been a melting pot, filled with people from diverse backgrounds and rich cultures. On August 3rd 2017, Chicago’s melting pot experienced Jain’s melting pop and completely surrendered to the sounds that this one-woman act enriched Tito’s Handmade Vodka stage with bringing everyone to their knees.

Jain, a French Singer/Songwriter and beatmaker has had quite a fascinating and rich life of her own already from an early age, born in Toulouse, moved to Dubai at age 9, then to the Republic of Congo at 14, off to Abu Dhabi at 17 and then to Paris rounding out her teen years. All the while, she had developed a love for drums; the beats and varying rhythms, starting off with a darbuka and was eventually shown how to program with recording software and her love for music soared from there.

Along her many moves, it was the music that stayed with her and at age 16, she wrote her first song entitled ‘Come’. Infusing many of the African, Reggae and even Arabic sounds and rhythms from the people and places she’s lived in and around. She adds to it, a modern electronic hip hop twist that no matter where you’re coming from, there is a unique quality that is both relatable and catchy for its originality.

On that Thursday afternoon, I wondered how she would be received by an American audience since I have only seen videos from European concerts. Early on, still before the show, members of the audience were singing parts of her songs with an anticipation of experiencing her show for themselves and as she walked on stage the anticipation spilled over to screams of excitement.

Opening the set with her song, ‘Mr. Johnson’ from her album Zanaka, she did not sit idly in one place as deejays do, no, she made sure the people of Chicago knew she was there. Moving from stage left to right and acknowledging the entire audience along the way. Again, for a one-woman act, Jain already scored high for her performance alone, as there are so many acts; full bands even, that remain content to stand in one place, play their music and call it a night. Add to that, Jain usually has video screens behind her accentuating her show with elements of her songs, lyrics, etc and did not have that here on Tito’s Handmade Vodka stage, but didn’t really need it either. For a performer to keep you entertained and entranced without flashy lights and video screens and only her own talent, that says a lot.

Between a couple of the songs, Jain apologized to the audience for her accent “because she is French” which conveyed how sweet and sincere she is as a person and showed her humor as well, and when she encouraged everyone to jump to her music, the crowd did so with very little encouragement at all. Her energy was infectious and the positivity in her lyrics, inspirational and that combined with her talent made for a very successful show, so much so, I had actually forgotten that it had rained a bit during her show, I was so taken by her performance.

Besides ‘Mr. Johnson’, other songs she performed in her set were her first song that she wrote, ‘Come’, ‘Heads Up’, ‘Lil Mama’, ‘Dynabeat’ and a new song that was dedicated to Paris, which I believe was called ‘Paris’ also, but I might be mistaken because, you know, of the accent… (I am joking, of course). All joking aside though, this song clearly looked like it was a bit of an emotional challenge for her as she and the audience raised their hands with the peace sign.

Jain Brings Lollapalooza to Its Knees 1

There was a scary part of her set however, when she came down to the audience and invited them to sing part of her song. If I hadn’t let a couple people take my spot in front at the barrier, she would have come to me with that microphone and no one (I repeat, no one) would have wanted to hear my voice… trust me. But thankfully, everyone sounded great and everyone had a great time with that part.

Wrapping up her set, Jain played, perhaps her most anticipated song from her album, the song ‘Makeba’ which brought the audience into a jumping frenzy all the while having their opportunity to “oowee” along with the song. It brought the Chicago melting pot to a boiling point, spilling over in dance and song that will live with us forever.

Dennis Kelly


It takes just a few seconds of listening to Jain to know that you’ve stumbled on someone special. Pick a song – any song – from the Parisian’s glorious, globe-trotting debut album, Zanaka, and the effect is the same. Instantly, you’ll be startled, smitten and smiling.

It took about a minute for the audience at this year’s French Grammys, Les Victoires de la Musique, to anoint Jain pop’s most compelling new star. Performing her song Come at the televised ceremony, surrounded by dancing doppelgangers, backed by masked drummers and blaring brass, Jain stole the show as the crowd leapt from their seats in disbelief. The following day, Come was at No.1, helping to propel Zanaka to platinum sales in France within a couple of months of its release.

Come has since spread across Europe, going gold in Poland, Top 10 in Belgium and storming up the charts in Germany and Italy. Its wacky video has more than 20 million views on YouTube. Jain has received rave reviews for every stop on her tour with Christine and the Queens. That the 24 year old hadn’t released any music until last summer attests to her ability to ambush listeners. Quite simply, she sounds like no one else in pop.

Success may have arrived overnight, but Jain’s joyous, sun-soaked, rhythm-driven sound had been brewing for years, collecting influences from multiple countries and a myriad of musical genres – Arabic percussion, African rhythms, electro, reggae, soul and hip hop among them. As the petite singer succinctly puts it: “It happened fast, very fast. But it took seven years.”

Zanaka means childhood in Malagasy, Jain’s mother’s native tongue and is a telling title. The album’s ten songs are a diary that documents the singer’s life from 16 to 23, although some influences date back even further – to the Manu Chao, Youssou N’Dour and Miriam Makeba records her French father and half-Madagascan mother played at home in Toulouse, to the drums Jain took up aged seven and the family’s first big move, to Dubai, when she was nine.

In Dubai, Jain’s love of percussion became an obsession when she discovered the darbuka, a traditional Arabic drum. Aged 14, her father’s job took the family to the Republic of Congo.

“It’s strange when you move to different countries, particularly when you’re young,” says Jain. “You’re struck by all these new sounds. I was fascinated by the different rhythms in the music. In Congo, it’s not binary, but three time.”

The upheaval of moving home and starting new schools sent the shyest, youngest of three sisters further in to music. Living in the Congo city of Pointe-Noire, she met a producer known as Mr Flash who taught her how to programme.

“I’m not sure if Mr Flash was his real name,” laughs Jain. “He gave me software so I could record myself and I started writing songs. Sitting alone in my room making music was the only place I felt truly at home. The songs became my house, and they moved with me.”

The first song she wrote, aged 16, was Come, although it didn’t turn out as planned.

“I tried to make a classical guitar and voice song, in a reggae mood,” Jain recalls. “But I was using this software called Fruityloops and started messing about with beats. It was just for fun. And then Come arrived, in one afternoon. I knew it was weird, but I liked it. I liked the idea that mistakes can lead to great things.”

The lyrics, about the friends she’d left behind in Dubai, came later, as always with her songs.

“I like to be spontaneous when I make music,” says Jain. “I begin with beats or drums, because that’s what moves me and if I find a sound that reminds me of traditional music I’ll use it, whether it’s Arabic, Indian, African or European. I like to mix styles and cultures, to get lost in a big mess of music. Then I add lyrics about whatever’s in my mind at the time.”

Aged 17, Jain moved again, to Abu Dhabi, where in her graduation year she formed a band performing covers of Amy Winehouse and Lady Gaga songs. She saw out her teens in Paris at art school, discovering electro and hip hop in clubs, performing her songs solo in any venue that would have her and wondering whether her future lay in music or graphic art. She wrote the jazz and blues-infused, faintly Amy-like All My Days while trying to make a decision and it swayed her, as did meeting her reggae idols Sly & Robbie, who were so bewitched by her dub-drenched break-up song You Can Blame Me that they agreed to guest on it.

Every track on ZANAKA captures a chapter in Jain’s youthful years. The dreamy, lilting HOB (think early Lily Allen with a great groove) was written in Abu Dhabi, about her best friend back in Pointe-Noire. The clubby Hope – the lead track on Jain’s debut EP – was written when she arrived in Paris and fell for electro and Kendrick Lamar. The tropical hip hop genius of Mr Johnson was inspired by seeing suits trudging to work in an overcast Paris and imagining the artist inside them that sunnier climes might coax out.

Heads Up is a percussion-driven, continent-crossing, arms-aloft party starter that piles on sounds and strips them down at a furious, fiesta pace.

“It’s one of a couple of political songs on the album,” explains Jain. “I wrote it to give people hope in these strange, scary times we live in, particularly in France. We have to keep our heads up, keep moving on and be proud of the clash of cultures in our country.”

The other track that touches on politics is Makeba, an ode to the South African singer and civil rights activist Miriam Makeba, which caused a stir when Jaden Smith (son of Will) played the song on his Beats radio show.

“Her voice is part of my childhood,” says Jain. “In Paris I discovered that a lot of my friends knew nothing about her. I found that sad so I wrote the song. The idea was to modernise Miriam Makeba so people my age might search her out. It was the last song I wrote for the album. It’s now the second single in France, so it’s on the radio. But Come is still played a lot too. It’s so funny to hear the song that started this album and the one that finished it, written seven years apart, on the radio at the same time.”

ZANAKA was recorded in Paris with producer Yodelice, a former French Grammy Award winner, whom Jain met after he’d heard her songs on MySpace. The sole exception is Lil Mama, recorded in Kingston, Jamaica with veteran producer Donovan Bennett aka Don Corleon. As no record label was as yet involved, Jain simply sent him some music, having loved the songs he’d produced for Rihanna and Sean Paul. As instantly smitten as everyone else who hears Jain, he immediately invited her over.

A carefree sprit and sense of adventure is at ZANAKA’s core. Fresh, fun, life-affirming songs capture the wide-eyed wonder of discovering music’s power to both express emotions and incite them. As endearingly innocent as they are riotously rule-breaking, Jain’s tales of travel and adolescence are the sound of the summer, wherever you reside.